Jazz Diaspora Johnson, Bruce
2019, 2020, 20191016, Letnik:
1
eBook
Jazz Diaspora: Music and Globalisation is about the international diaspora of jazz, well underway within a year of the first jazz recordings in 1917. This book studies the processes of the global ...jazz diaspora and its implications for jazz historiography in general, arguing for its relevance to the fields of sonic studies and cognitive theory. Until the late twentieth century, the historiography and analysis of jazz were centred on the US to the almost complete exclusion of any other region. The driving premise of this book is that jazz was not 'invented' and then exported: it was invented in the process of being disseminated.
Jazz Diaspora is a sustained argument for an alternative historiography, based on a shift from a US-centric to a diasporic perspective on the music. The rationale is double-edged. It appears that most of the world's jazz is experienced (performed and consumed) in diasporic sites - that is, outside its agreed geographical point of origin - and to ignore diasporic jazz is thus to ignore most jazz activity. It is also widely felt that the balance has shifted, as jazz in its homeland has become increasingly conservative.
There has been an assumption that only the 'authentic' version of the music - as represented in its country of origin - was of aesthetic and historical interest in the jazz narrative; that the forms that emerged in other countries were simply rather pallid and enervated echoes of the 'real thing'. This has been accompanied by challenges to the criterion of place- and race-based authenticity as a way of assessing the value of popular music forms in general. As the prototype for the globalisation of popular music, diasporic jazz provides a richly instructive template for the study of the history of modernity as played out musically.
In charting the life and times of Gordon Stretton, this text makes a major contribution to both jazz and popular music studies. By asking historians to re-evaluate the contributions made to the ...development of jazz by those "other than" African Americans, it proposes new jazz histories emanating from pathways, influences and encounters.
The Jazz Age, a phenomenon that shaped American leisure culture in the early twentieth century, coincided with the growth of Kansas City, Missouri, from frontier town to metropolitan city. Though ...Kansas City's music, culture, and stars are well covered,Queering Kansas City Jazzsupplements the grand narrative of jazz history by including queer identities in the city's history while framing the jazz-scene experience in terms of identity and space. Cabarets, gender impressionism clubs, and sites of sex tourism in Kansas City served as world-making spaces for those whose performance of identity transgressed hegemonic notions of gender, sexuality, race, and class. Amber R. Clifford-Napoleone takes an interdisciplinary approach to provide a critical deconstruction of how the jazz scene offered a space for nonnormative gender practice and performance and acted as a site of contested identity and spatial territory.Few books examine the changing ideas about gender in the turn-of-the-century Great Plains, under the false assumption that people in middle-American places experienced cultural shifts only as an aftershock of events on the coasts. This approach overlooks the region's contested territories, identities, and memories and fails to adequately explain the social and cultural disruptions experienced on the plains. Clifford-Napoleone rectifies this oversight and shows how Kansas City represents the complexity of the jazz scene in America as a microcosm of all the other people who made the culture, clubs, music, and cabarets of the age possible.
Recorded by his quartet in a single session in 1964, John Coltrane’s A Love Supreme is widely considered one of the greatest jazz albums of all time. A significant record of Coltrane’s transition ...from the bebop and hard bop of his earlier recordings to the free jazz style perfected throughout the rest of his career, the album is also an embodiment of the deep spirituality that characterized the final years of his life. The album itself comprises a four-part suite; the titles of the four parts-“Acknowledgment,” “Resolution,” “Pursuance,” and “Psalm,”-along with the poem Coltrane composed for inclusion in the liner notes, which he “recites” instrumentally in “Psalm” reflect the religious aspect of the album, a quality that contributes to its mystique and symbolic importance within the canon of seminal jazz recordings. This book explores both the musical aspects of A Love Supreme, and the album’s seminal importance in jazz history. Using criticism of late Coltrane recordings as a starting point, the author suggests ways of listening to these recordings that can be considered outside the conventional ideologies of mainstream jazz practice. The book concludes with a study of the broad musical and cultural impact of the album, examining the relationship between the recording and music, literature, poetry and film.
Bheki Mseleku is widely regarded as one of the most gifted, technically accomplished and emotionally expressive jazz musicians to have emerged from South Africa. His individualistic and eclectic ...sound draws on American, classical and township influences. He had no apparent formal music training and grew up in a poor village on the outskirts of Durban where, at the fairly late age of seventeen, he discovered that he had an innate ability to play. He has become a key inspiration for aspiring young South African jazz musicians and has left an infinite source of knowledge to draw on. The Artistry of Bheki Mseleku is an in-depth study of the Mselekus compositional works and improvisational style. The annotated transcriptions and analysis bring into focus the exquisite skill and artistry that ultimately caught the eye of some of the most celebrated international jazz musicians in the world.
In his new book, Richard Brent Turner explores the history and contemporary significance of the popular religious traditions, identities, and performance forms celebrated in the second lines of the ...jazz street parades of black New Orleans. The second line is the group of dancers who follow the first procession of church and club members, brass bands, and grand marshals. Here musical and religious traditions interplay. Jazz Religion, the Second Line, and Black New Orleans examines the relationship of jazz to indigenous religion and spirituality. It explores how the African diasporist religious identities and musical traditions -- from Haiti and West and Central Africa -- are reinterpreted in New Orleans jazz and popular religious performances, while describing how the participants in the second line create their own social space and become proficient in the arts of political disguise, resistance, and performance.
Typically a photograph of a jazz musician has several formal prerequisites: black and white film, an urban setting in the mid-twentieth century, and a black man standing, playing, or sitting next to ...his instrument. That's the jazz archetype that photography created. Author K. Heather Pinson discovers how such a steadfast script developed visually and what this convention meant for the music. Album covers, magazines, books, documentaries, art photographs, posters, and various other visual extensions of popular culture formed the commonly held image of the jazz player. Through assimilation, there emerged a generalized composite of how mainstream jazz looked and sounded. Pinson evaluates representations of jazz musicians from 1945 to 1959, concentrating on the seminal role played by Herman Leonard (b. 1923). Leonard's photographic depictions of African American jazz musicians in New York not only created a visual template of a black musician of the 1950s, but also became the standard configuration of the music's neoclassical sound today. To discover how the image of the musician affected mainstream jazz, Pinson examines readings from critics, musicians, and educators, as well as interviews, musical scores, recordings, transcriptions, liner notes, and oral narratives.
"Breaking through pervasive misconceptions, Jazz in the 1970s explores a pivotal decade in jazz history. Many consider the 1970s to be the fusion decade, but Bill Shoemaker pushes back against this ...stereotype with a bold perspective that examines both the diverse musical innovations and cultural developments that elevated jazz internationally. He traces events that redefined jazz's role in the broadband arts movement as well as the changing social and political landscape."
From its beginning, jazz has presented a contradictory social world: jazz musicians have worked diligently to erase old boundaries, but they have just as resolutely constructed new ones. David Ake's ...vibrant and original book considers the diverse musics and related identities that jazz communities have shaped over the course of the twentieth century, exploring the many ways in which jazz musicians and audiences experience and understand themselves, their music, their communities, and the world at large. Writing as a professional pianist and composer, the author looks at evolving meanings, values, and ideals--as well as the sounds--that musicians, audiences, and critics carry to and from the various activities they call jazz. Among the compelling topics he discusses is the "visuality" of music: the relationship between performance demeanor and musical meaning. Focusing on pianists Bill Evans and Keith Jarrett, Ake investigates the ways in which musicians' postures and attitudes influence perceptions of them as profound and serious artists. In another essay, Ake examines the musical values and ideals promulgated by college jazz education programs through a consideration of saxophonist John Coltrane. He also discusses the concept of the jazz "standard" in the 1990s and the differing sense of tradition implied in recent recordings by Wynton Marsalis and Bill Frisell.Jazz Culturesshows how jazz history has not consisted simply of a smoothly evolving series of musical styles, but rather an array of individuals and communities engaging with disparate--and oftentimes conflicting--actions, ideals, and attitudes.
